This project was something special and I loved every minute of working on it. I wanted this album to show its full potential by sequencing all of the songs together and make it sound as a whole, like a big medley. And it turned out great, as it should considering the whole album is a masterpiece.

 I even worked on the cover art a bit, found the high quality photo from the channel Stereo Music (https://www.youtube.com/c/StereoMusic...), gave it some color, added the "full dimensional sound" logo, changed the letters to spell out CHiLD, like SMiLE and I think it looks better, and also I found a back cover with the track listing and "Brians Back!" written on I'm guessing literally Brian's back. I fixed that up and added my own track listing. I don't know if it's a legit picture of Brian since it was clearly from a bootleg, but I think it looks like him and I love how it looks. It works well with the humor within Brian's work and its just perfect, Brian's front in front, his back in the back, cracks me up thinking about it.

In my mind if this was released this way, I would imagine a timeline where Mike and maybe Al would finally back off and say "Okay Brian, you can have your way with your "big band and synth mumbo jumbo" on this album. We did this to you once and look how that turned out. Let's just get it over with shall we?" (Some people just never learn do they?)

 The other thing is I would imagine the record company (I'm not sure if its Brother Records or Reprise Records so I put both of their logos on seperate sides) doubling down on the "Brians Back" campaign, putting his name on almost every song as if it would be his own record, just featuring The Beach Boys (honestly looks that way) and let Brian go all out with this album. The only request the record would make is compose a few "appropriate and marketable" tracks and add them onto the album. Because of that they would work on more tracks and release it near the end of 1978, around when M.I.U. was released or in late October. Also I would think because of the length of each side, to preserve the tracks' quality they would use extended-play LP that could go up to 26 minutes, which works just fine. 

I cleared and mixed some of the tracks to make it sound more listenable. The sequencing of the tracks worked so well that it feels like this was always meant to be this way. I made some tempo changes that worked well and some pitch shifts that sort of didn't but I made them to make the transitions sound more cohesive so, little sacrifices had to be made.

And in the end of the alternate timeline I think it would be much more divisive than Love You, some hating it while others calling it "Brian's second chance at his magnum opus" and I think he sure nailed it. The first side of the album sounds more like Brian's "all out quirky and weird" tracks that sound amazing, and the second side being a more commercial side with more tracks about love and such [don't mind Hey Little Tomboy there ;)] and that side sounds amazing as well. And I added some vinyl crackling sounds to give it that "long lost album" vibes and I guess that could throw off some people but don't worry, I'm going to share a file with the sides without the cracking sounds and maybe with the cover arts after the premiere.

https://drive.google.com/file/d/1PKlJrC_J_ageXdtpOuDbxvEP0rioNz5r/view?usp=sharing

A Quick Word: 0:00

SIDE 1

1) New English Waltz Pt. 1: 0:24
2) Life Is For The Living: 01:58
3) Baseball's On: 03:44
4) Calendar Girl: 06:18
5) Lines: 09:24
6) Shortenin' Bread: 10:55
7) Our Team: 13:44
8) Everybody Wants To Live: 16:14
9) On Broadway: 19:22
10) Deep Purple: 21:55

SIDE 2

1) New English Waltz Pt. 2: 24:47
2) H.E.L.P. Is On The Way: 25:32
3) Match Point Of Our Love: 27:51
4) Sweet Sunday Kinda Love: 31:01
5) Hey Little Tomboy: 33:43
6) Games Two Can Play: 36:06
7) My Diane: 38:04
8) It's Over Now: 40:44
9) Still I Dream Of It: 43:32
10) Winds Of Change: 46:59

ANNOUNCEMENT: 50:29

Adult/CHiLD

The Beach Boys - Adult/CHiLD: The Other Lost Masterpiece [1978 FULL ALBUM LP MIX]

In STEALTH by Sonallah Ibrahim, the narrator, a boy living in Cairo sneaks around the city spying on its citzens. By taking in its sights, sounds, and smells, the boy creates a portraint of 1950s Cairo. In a previous post, we explored those sights with an animation by Nathaniel Whitcomb who created a motion collage from the mid-century Cairo photographs of Don Church. Now, we present to you a mix of popular 1950s Egytian music compiled by Brian Shimkovitz of Awesome Tapes From Africa. 

1. Samia Gamal “Ay Ya Zein” [Oh Beautiful] (from the film Valley of the Kings) 
2. Um Kalthoum “Howa Sahih El-Hawa Ghallab” [Is It True That Love Is Irresistible?]
3. Laila Murad “Men Al Qalb Lel-Qalb Rasool” [Heart to Heart] (from the film Heart to Heart)
4. Fareed al-Atrash “Hebeena Hebeena” [Love Us, Love Us] (from the film Nagham Fi Hayati)
5. Mohamed Abdel Wahab “El Sudan”
6. Laila Mourad “Abgad Hawaz”
7. Mohamed Abdel Wahab “Ahebo Mahma Ashof Meno”
8. Farid Shawqi & Yehia Chahine with dancer Naemat Mokhtar [title unknown] (from the film The Black Knight)
9. Um Kalthoum “Ya Hobena Al Kabir” [Oh Great Love] 
10. Mohamed Fawzi “Ta'ab el-Hawa Albi” [Oh the Sweetness of Love] (from the film Banat Hawaa) 
11.  Laila Murad “Aahd El Hawa” (from the film Flirtation of Girls)

More info on the novel STEALTH and a Q&A with ATFA: http://ndbooks.com/blog/article/stealth-mix-awesome-tapes-from-africa-for-nd

STEALTH Mix: Awesome Tapes From Africa for New Directions

Spurn Point is the debut album by London based artist Shelley Parker released on her label Structure. New compositions are presented from re-edits of selected installations, performances and a video project.
NOISE FLOOR / NOISEFLOOR FESTIVAL / 2012 
The live set utilized stripped down percussive extracts, cyclical bass pulses and minimal abstract noise sourced from early old school hardcore tracks and field recordings.

04 NOISE FLOOR / Shelley Parker / Spurn Point

Performance 1/2 from live EP : Post Guitar Prayer

Post Guitar Prayer

The End Of It All

Colin Stetson and Sarah Neufeld - "The sun roars into view"
from 'Never Were The Way She Was'

available 28 April January 2015 on Constellation:
cstrecords.com/cst113

Never were the way she was

Colin Stetson and Sarah Neufeld • "The sun roars into view"

The One You Paid For

Enter

Beach Boys unreleased album.
1. Life is for the living 0:00
2. Hey Little Tomboy 1:52
3. Deep Purple 4:18
4. H.E.L.P. Is on the Way 6:41
5. It's Over Now 9:02
6. Everybody Wants to Live 11:45
7. Shortenin' Beard 14:54
8. Lines 
9. On Broadway 
10. Games Two Can Play 
11. It's Trying to Say 
12. Still I Dream of It

The Beach Boys - Adult/Child Full Album (Unreleased 1977)

Dur-Dur Band "Volume 5" (ATFA004), out March 19, 2013

Buy album https://dur-durband.bandcamp.com/album/volume-5

Enter

Anikulap0x